go here<\/a>.<\/p>\n","protected":false},"excerpt":{"rendered":"[contextly_auto_sidebar id=”101O0b8f0RT8j5tNT34ov32aIiDtbYK1″] Charles Lloyd, Wild Man Dance (Blue Note) For the first three minutes of the opening \u00e2\u20ac\u0153Flying Over The Odra Valley,\u00e2\u20ac\u009d the Greek lyra of Sokratis Sinopoulos and the Hungarian cimbalom of Mikl\u00c3\u00b3s Luc\u00c3\u00a1ks play what might be music for yoga meditation. Then the commanding tonality and rhythmic push of Lloyd\u00e2\u20ac\u2122s tenor saxophone charge […]<\/p>\n","protected":false},"author":2,"featured_media":6594,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","footnotes":""},"categories":[5],"tags":[],"class_list":{"0":"post-6593","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-recommendations","8":"entry"},"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/6593","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/comments?post=6593"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/6593\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/media\/6594"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/media?parent=6593"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/categories?post=6593"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/tags?post=6593"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
![\"Lloyd](\"https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2015\/04\/Lloyd-Wild-Man-Dance.jpg\")
<\/a>Luc\u00c3\u00a1ks play what might be music for yoga meditation. Then the commanding tonality and rhythmic push of Lloyd\u00e2\u20ac\u2122s tenor saxophone charge the atmosphere, and the exotic stringed instruments meld with his quartet in a suite fascinating in its variety and depth. In six movements, Lloyd, pianist Gerald Clayton, bassist Joe Sanders and drummer Gerald Cleaver make the most of the opportunities in Lloyd\u00e2\u20ac\u2122s composition. All have stunning solos, notably so in the kaleidoscopic fourth movement, \u00e2\u20ac\u0153River.\u00e2\u20ac\u009d Elsewhere, blends of their instruments with Luc\u00c3\u00a1ks\u00e2\u20ac\u2122s cimbalom and Sinopoulos\u00e2\u20ac\u2122s lyra produce colors that heighten the suite\u00e2\u20ac\u2122s air of reflection and purpose. This could be for Lloyd in the new century what his hit album Forest Flower<\/em><\/a> was in the last. <\/p>\n